1

UNIT I

Lesson 1
Humanities and Arts in the Western Concept

Objectives:

At the end of the lesson, students must have:

• described and explained the meaning and importance of Humanities, Arts,

and Science in the Western Concept;
• realized the importance and influenced of Arts and Humanities in the
world;
• appreciated the value of art as a form of self-expressions;
• ascertained the importance and functions arts in our lives and expressed
it through rhetorical writing/essay.

Materials:

pen and paper

Duration: 3 hours

Key concepts and ideas:

Western Art Humanities

Let’s ponder about these!

• The term ‘Western art’ largely describes the art of western Europe but is also
used as a general category for forms of art that are now geographically
widespread but that have their roots in Europe.

• Societies are comprised of knowledge from a hugely diverse people. There

are people in business, government, and academe. There are also artists as
well as scientists. While artists can create art, music, or literature to
contribute with a higher variety of leisure activities. Scientists can invent new
gadgets to contribute to our well-being. Artists and scientists are important
not only for the mentality but also for the prosperity of a society.

• Humanities is being humane, cultured and refined. It is a discipline of

memory and imagination, telling us where we have been and helping us
envision where we are going.

• The term ‘Western art’ mainly describes and expounds the art of western
Europe. Forms of art that are geographically prevalent but have their roots in
Europe also used Western art as a general category.

• Understanding Western art depends on two keys that explained changes that
existed in the process of creating art and the recipient/subject of the art.

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References:

Art Gallery NSW. (n.d.) Western art. Retrieved on August 1, 2020 at

https://www.artgallery.nsw.gov.au/discover-art/learn-more/western-art/

Staff Writers. (2020, June 4). What Are the Arts & Humanities?. Retrieved on August
1, 2020 at https://www.collegechoice.net/faq/what-are-the-arts-humanities/

You can do this!

A. Read any of the following articles found in the appendix and be ready to
answer the succeeding questions.

• You are an Artist by the Art Assignment, transcript retrieved

from https://www.youtube.com/watch?v=RQDlxJF9tvs (Appendix 1.1)

• Art as a Humanistic Discipline by Erwin Panofsky. Meaning in

the Visual Arts. Australia. Retrieved July 2020, from
https://www.scribd.com/document/415721221/Reading-1-1-Panofsky
(Appendix 1.2)

B. Study and answer the question after each illustration or drawing.

Figure 1

Q1. What
subjects/human
disciplines are being
studied in Humanities?

Describe each.

(10 points)

1. ____________________________________________________

2. _________________________________________________________

3. _________________________________________________________

4. _________________________________________________________

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Figure 2

Q2. Briefly describe the

differences between art
creation and art
appreciation.

(5 points)

____________________________________________________________________

____________________________________________________________________

____________________________________________________________________

Figure 3

Today, in a more technological society than ever, it seems essential to

overcome this barrier between the two cultures (scientific and humanistic) and
propose an education that integrates both branches of knowledge.
Retrieved from: https://www.elesapiens.com/blog/science-vs-humanities-educating-citiziens-of-the-future/

We need, as well as technological progress, individuals with a strong

background in values and with enough vision to meet new challenges in a
sustainable away, people responsible with other human beings and with their
environment.

Q3. Give at least four reasons why you need to study Science and Humanities?
(5 points)

_________________________ _________________________

_________________________ _________________________

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Figure 5

The word humanitas comes from a Latin word humanus which means human,
cultured and refined. Looking at the illustration above, what distinguishes humanitas
from divinitas and barbaritas? Write your answer on the blank page of a notebook
provided below. (10 points)

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Figure 6

C. Write the appropriate description below each photo using the guide
representation or illustration above (Figures A-H) (5 points each)

Example:

A. Anthropocentric view in is a philosophical

viewpoint arguing that human beings are the
central or most significant entities in the world.

Retrieved from:
britannica.com/topic/anthropocentrism)

B.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________

Retrieved from:
https://www.google.com/url?sa=i&url=https%3
A%2F%2Fgrjyc.travel.blog%2F2018%2F11%2F
12%2Fstages-of-early-man

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C.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________

Retrieved from:
https://sites.google.com/site/geocentrism
andyou/past-geocentrism

D.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________

Retrieved from:
https://www.google.com/url?sa=i&url=https%3A%2
F%2Fsmarthistory.org%2Frembrandt-anatomy-
lesson-of-dr-tulp--oCFQAAAAAdAAAAABAD

E.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________
Retrieved from:
https://www.google.com/url?sa=i&url=https%3A%2F%2Fptop.only.wip.la%3A443%2Fhttps%2Fwww.slides
hare.net%2Fceciliavales10%2Fheliocentric-model-and-
copernicus&psig=AOvVaw2ixxQXhxeKqnJFD-
YaQIpP&ust=1596439301194000&source=images&cd=vfe&ved=0CAI
QjRxqFwoTCJCRjof---oCFQAAAAAdAAAAABAO

F.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________
Retrieved from:
https://www.google.com/url?sa=i&url=https%3A%2F%2Fptop.only.wip.la%3A443%2Fhttps%2Fwww.
pinterest.com%2Fpin%2F25332816629739236%2F&psig=AOvV
aw2Xq90xSvu8-
2sdr6tUznd0&ust=1596439896520000&source=images&cd=vfe
&ved=0CAIQjRxqFwoTCMjs7buA_OoCFQAAAAAdAAAAABAu

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G.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________
Retrieved from:
https://www.google.com/url?sa=i&url=https%3A%2F%2Fptop.only.wip.la%3A443%2Fhttps%2Fmy
modernmet.com%2Fleonardo-da-vinci-vitruvian-
man%2F&psig=AOvVaw2N4JXNAaKhARN3do6xCRmT&ust=1
596441391036000&source=images&cd=vfe&ved=0CAIQjRxq
FwoTCJjSuOyF_OoCFQAAAAAdAAAAABAD

H.

______________________________________
______________________________________
______________________________________
______________________________________
______________________________________
Retrieved from:
https://www.google.com/url?sa=i&url=https%3A%2F%2Fptop.only.wip.la%3A443%2Fhttp%2Fartasiapacific.
com%2FNews%2FClosureOfKuloExhibitionIgnitesArtCensorshipDebateI
nThePhilippines&psig=AOvVaw3B9HspwZ4srEP2aUTariPg&ust=159644
1968680000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCJDb7PmH
_OoCFQAAAAAdAAAAABAD

Analysis

1. What is meant by Humanities and Science? Described these concepts in

your understanding. (5 points)
_________________________________________________________
_________________________________________________________
_________________________________________________________
_________________________________________________________

2. How do Humanities and Arts affect or influence events in the world?

(5 points)
_________________________________________________________
_________________________________________________________
_________________________________________________________
_________________________________________________________
_________________________________________________________

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3. How does an artist express his/her art in the following? (3 points each)
A. Visual art (painting, drawing, architecture)
_________________________________________________________
B. Performing Arts (music, dance, drama)
_________________________________________________________
C. Linguistic (Literary arts)
_________________________________________________________

Highlights of the Lesson

• Several important concepts need to understand when one is going to study

Art Appreciation. Some of these concepts are Humanities, Science, and Art.
These three significant human endeavors will help one explain and
understand him/herself and the world around.

• Humanities or humanitas refers to the state where humanity embraced the

refinement of character and culture of excellence. It is also a value,
limitation, or quality of giving purpose to and reason for an action. The
interest in human beings was divided into two aspects: between barbaritas
(uncivilized) and humanitas (civilized) and humanitas and divinitas
(divine). Humanitas may have originated from the factors that allow humans
to think rationally within their culture.

• The birth of Humanism is a significant factor in the history of art. Humanism

is the conviction of the dignity of man, based on both the insistence on
human values (rationality and freedom) and the acceptance of human
limitations (fallibility and frailty).

• Art is timeless and ageless. Human records such as artifacts and art do not
age because it is still relevant up to now. There was already art as early as
800 circa/BC (Ancient Time), Medieval Period (Theocentric), Renaissance
Period (Anthropocentric), Modern Period (Scientific-Technocentric), and Post-
Modern Period (Eclectic).

• It is believed there will be arts when humans live according to their natural
inclinations which is to rationalize, create or recreate artistic expressions of
ideas, thoughts, feelings, emotions, and behavior.

Application/Follow-up Activity

Write a one or two-paragraph essay or article with any of the following theme:

1. Art in my life
2. Art as a platform for change
3. Localizing Art
4. Art and Globalization

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5. The morality and/or Immorality of Art

6. Freedom and/or Responsibility in Artistic Practice
7. Art in the New Normal (COVID 19 Situation)
8. The Economic Value of Art

Rubrics for Essay

Content Understanding/ Original Structure Grammar Total

20 points Application Thinking 20 points and 100 points
20 points 20 points mechanics
20 points
Addresses Demonstrates Demonstrates Response Response is A - Excellent
each question deep original to each virtually free B - Very
and all its understanding of thinking that question is of Good
parts course theories adds insight to well mechanical, C - Good
thoroughly; and ideas analysis of organized grammatical D - Fair
incorporates applied to case; and clearly writing E - Needs
relevant analysis of case meaningful written; errors" Improvement
course situations" elaboration there is
content into beyond text, evidence
responses; notes, class of
uses specific discussion in planning
information strategy before
from case in development writing
response"

References:

Vega, A. (2014). Science vs. Humanities: Educating citizens of the future. Retrieved
on July 2020 at https://www.elesapiens.com/blog/science-vs-humanities-
educating-citiziens-of-the-future/

Dubec, R. (2018) Retrieved on July 2020 at

https://teachingcommons.lakeheadu.ca/rubric-essay-exam-questions

Orate, A. (2017) Art as Humanistic Discipline. University of the East Manila. Retrieved
on July 2020 at https://www.coursehero.com/file/47855123/Lecture-1-for-
students-pptpdf/

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APPENDIX 1.1

You Are an Artist

by the Art Assignment

So… you are an artist. You might disagree with that statement but hold on let
me tell you what I mean. You are an artist as long as you’re making things that you
or anyone else might consider art. And I draw my art boundaries really widely. For
me, art doesn’t need to be one of the major disciplines like painting, drawing,
sculpture, photography, ceramics, or the like. Those things are certainly art, and I
like them, too. But for me, art is also a bicycle wheel, plants growing on a form,
fluorescent light, and sound. It’s condensation, purple smoke, gunpowder, a giant
crater, an arrangement of hanging panels, and a bench that moves when you sit on
it.

Art can be a crack in the floor, spray paint on a train, a billboard, pantyhose
filled with sand, a multi-story slide through an art museum. It can be a sunburn, a
video game, a cookie, a meat suit. I could do this all day. There are so many working
and successful artists who make things and experiences that fall outside of the
traditional categories of art. And we’ve featured a lot of them on this show! Over the
course of three years, we gathered sixty assignments from artists all over who
demonstrate beautifully and inspiringly how there are lots of ways to be an artist.
And I’m thrilled to announce that many of those original assignments and a bunch of
new ones are going to be a book! It’s coming out next spring, and will be published
by Penguin Books, and it has this amazing cover, and it’s available for preorder at
the handy link below.

You do not have to consider yourself an artist for this book to be relevant for
you. Contrary to popular belief, you do not have to know how to draw well, or even
at all, to be an artist or to follow the prompts offered in this book. There are so
many non-drawing related activities that are ways of making art. Like when Fritz
Haeg showed us how he’s taken strips of old t-shirts and bedsheets and hand
knotted them into rugs. We also saw how he brought those rugs into the notoriously
cold, hard spaces of museums and invited others to contribute to them, as part of his
wider practice exploring what it means to make oneself at home. And Michelle
Grabner shared with us how the paper weaving activity her son brought home from
kindergarten one day became a multi-decade art-making endeavor, allowing her to
explore pattern, repetition and variation, and how small changes can affect vast
systems of order.

The Guerrilla Girls showed us how complaining can be art. And not just any
kind of complaining, but strategic, original, well-thought-out, and sustained
complaining. When we visited JooYoung Choi, she showed us how she
conceptualizes and constructs the characters who populate the paracosm she calls
the Cosmic Womb. Her assignment encourages you to make your own imaginary

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friend in whatever medium you choose, and build out their world, and maybe even
introduce them to others.

Some of the artists featured in the book are very good at drawing. Like Toyin
Ojih Odutola, who makes astoundingly elaborate and detailed drawings at large
scale, portraits of herself, others, and recently two fictional Nigerian families whose
personas and worlds she’s brought to colorful life. And Molly Springfield, who gave
us a window into her meticulous and laborious process making graphite drawings of
photocopied text. And also showed us how you might make art using only a
photocopier and a little persistence. The first artist I ever met even contributed an
assignment to the book! Lonnie Holley is an accomplished visual artist and
experimental musician originally from Birmingham, Alabama, who did a workshop
with my class when I was a kid.

These artists are not asking you to make exactly the kind of art they’re
making, but to respond to an assignment that reveals something about their way of
working. If you have mad drawing skills and want to use them, you will indeed be
able to in your responses. But for most of these, all you need is your attention,
maybe possibly your wits, and the wherewithal to source materials you already have
or can easily find. Because to be an artist, all you have to do is start making things.
You don’t need to be touched by the divine gods of inspiration. Nor do you need to
be the type of person that other people or even you consider creative or “artsy,” one
of my least favorite words in the English language. But what you might need is a
prompt, and that’s where these assignments come in.

The thing I really want to pass along to you with this book is not particular
skills, but ways of thinking. By following the leads of these artists, you’ll do
something you wouldn’t normally do, and which might open up new ways of thinking
and making for you. It might be frustrating at times and what you make might look
ugly, but come on people, by following one of these assignments you’ll find your
band. I’m being serious when I say that some of the assignments in this book have
changed the way I look at the world. Like Odili Donald Odita’s deceptively simple
assignment of finding and comparing and observing objects that could all be
considered “white.” And Lauren Zoll’s assignment asking us to look for images in
screens that are “off.”

The book expands on our original assignment videos and adds many new
assignments from artists including Wendy Red Star, Genesis Belanger, Dread Scott,
Julie Green, Gillian Wearing, and more. In the book, you’ll learn about why these
artists are offering each assignment, how it relates to their work, and what works
from art history might inform the activity. It also includes some of the outstanding
responses that have been made to some of the assignments, as well as a bunch of
new tips and cheats and variations. So whether you’ve seen every single assignment
video or have no idea what I’m talking about, there is something in this book for
you. You may not be making art right now. But you could be.

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The artists in this book are real people, who do take their work seriously, but
who aren’t overly self-serious about it. Many of them have made real life part of their
art, and show you how you might do that, too. When the book comes out in April,
we’ll release some new assignment videos on this channel, and encourage you to
make your own responses and share them with us. In the meantime, pre-order a
copy! Because here’s the thing: Art needs you. It needs more voices from more
places and from a wider variety of backgrounds. This whole enterprise we call art
can make your life more meaningful, but it can also be a way for you to share some
of what you know with others. Because you are an artist. Or, at least, you can be
soon.

Reference:

Art Assignment. Retrieved from https://www.youtube.com/watch?v=RQDlxJF9tvs

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APPENDIX 1.2

Art as a Humanistic Discipline

By Erwin Panofsky

I. Nine days before his death Immanuel Kant was visited by his physician. Old,
ill and nearly blind, he rose from his chair and stood trembling with weakness and
muttering unintelligible words. Finally his faithful companion realized that he would
not sit down again until the visitor had taken a seat. This he did, and Kant then
permitted himself to be helped to his chair and, after having regained some of his
strength, said, "The sense of humanity has not yet left me. The two men were
moved almost to tears. For, though the word Humanitat had come, in the eighteenth
century, to mean little more than politeness or civility, it had, for Kant, a much
deeper significance, which the circumstances of the moment served to emphasize:
man's proud and tragic consciousness of self-approved and self-imposed principles,
contrasting with his utter subjection to illness, decay and all that is implied in the
word "mortality."

Historically the word humanitas has had two clearly distinguishable meanings,
the first arising from a contrast between man and what is less than man and what is
more. In the first case humanitas means a value, in the second a limitation.

The concept of humanitas as a value was formulated in the circle around the
younger Scipio, with Cicero as its belated, yet most explicit spokesman. It meant the
quality which distinguishes man, not only from animals, but also, and even more so,
from him who belongs to the species homo without deserving the name of homo
humanus; from the barbarian or vulgarian who lacks pietas, that is, respect for moral
values and that gracious blend of learning and urbanity which we can only
circumscribe by the discredited word "culture." In the Middle Ages this concept was
displaced by the consideration of humanity as being opposed to divinity rather than
to animality or barbarism.

Thus the Renaissance conception of humanitas had a twofold aspect from the
outset. The new interest in the human Being was based both -on a revival of the
classical antithesis between humanitas and barbartias, and on a survival of the
mediaeval antithesis between humanitas and divinttas. When Marsilio Ficino defines
man as a "rational soul participating in the intellect of God, but operating in a body,"
he defines him as the one being that is both autonomous and finite. And Pico's
famous speech "On the Dignity of Man” is anything but a document of paganism.
Pico says that God plced man in the center of the universe so that he might be
conscious of where he stands, and therefore free to decide "where to turn.” He does
not say that man is the center of the universe, not even in the sense commonly
attributed to the classical phrase, "man the measure of all things."

It is from this ambivalent conception of humanitas that humanism was born.

It is not so much a movement as an attitude which can be defined as the conviction
of the dignity of man, based on both the insistence on human values (rationality and

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freedom) and the acceptance of human limitations (fallibility and frailty); from this
two postulates result responsibility and tolerance. From the point of view of
determinism, the humanist is either a lost soul or an ideologist. From the point of
view of authoritarianism, he is either a heretic or a revolutionary (or a
counterrevolutionary). From the point of view of "insectolatry," he is a useless
individualist. And from the point of view of libertinism, he is a timid bourgeois.

Erasmus of Rotterdam, the humanist par excellence, is a typical case in point

The church suspected and ultimately rejected the writings of this man who had said:
"Perhaps the spirit of Christ is more largely diffused than we think, and there are
many in the community of saints who are not in our calendar." Luther, who insisted
that “no man has power to think anything good or evil, but everything occurs in him
by absolute necessity," was incensed by a belief which manifested itself in the
famous phrase; "What is the use of man as a totality [that is, of man endowed with
both a body and a soul], if God would work in him as a sculptor works in clay, and
might just as well work in stone?"

II The humanist, then, rejects authority. But he respects tradition. Not only
does he respect it, he looks upon something real and objective.

The Middle Ages accepted and developed rather than studied and restored
the heritage of the past. They copied classical works of art and used Aristotle and
Ovid much as they copied and used the works of contemporaries. They made no
attempt to interpret them from an archaeological, philological or "critical/' in short,
from an historical, point of view. For, if human existence could be thought of as a
means rather than an end, how much less could the records of human activity be
considered as values in themselves.

In medieval scholasticism there is, therefore, no basic distinction between

natural science and what we call the humanities. The practice of both, so far as it
was carried on at all, remained within the framework of what was called philosophy.
From the humanistic point of view, however, it became reasonable, and even
inevitable, to distinguish, within the realm of creation, between the sphere of nature
and the sphere of culture, and to define the former with reference to the latter,
ie.,nature as the whole world accessible to the senses, except for the records left by
man.

Man is indeed the only animal to leave records behind him, for he is the only
animal whose products "recall to mind" an idea distinct from their material existence.
Other animals use signs and contrive structures, but they use signs without
"perceiving the relation of signification," and they contrive structures without
perceiving the relation of construction. To perceive the relation of signification is to
separate the idea of the concept to be expressed from the means of expression. And
to perceive the relation of construction is to separate the idea of the function to be
fulfilled from the means of fulfilling it. A dog announces the approach of a stranger
by a bark quite different from that by which he makes known his wish to go out. But

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he will not use this particular bark to convey the idea that a stranger has called
during the absence of his master. Much less will an animal, even if it were physically
able to do so, as apes indubitably are, ever attempt to represent anything in a
picture. Beavers build dams. But they are unable, so far as we know, to separate the
very complicated actions involved from a premeditated plan which might be laid
down in a drawing instead of being materialized in logs and stones.

Man's signs and structures are records because, or rather in so far as, they
express ideas separated from, yet realized by, the processes of signaling and
building. These records have therefore the quality of emerging from the stream of
time, and it is precisely in this respect that they are studied by the humanist. He is,
fundamentally, an historian. The scientist, too, deals with human records, namely
with the works of his predecessors. But he deals with them not as something to be
investigated, but as something which helps him to investigate. In other words, he is
interested in records not in so far as they emerge from the stream of time, but in so
far as they are absorbed in it. If a modern scientist reads Newton or Leonardo da
Vinci in the original, he does so not as a scientist, but as a man interested in the
history of science and therefore of human civilization in general In other words, he
does it as a humanist, for whom the works of Newton or Leonardo da Vinci have an
autonomous meaning and a lasting value. From the humanistic point of view, human
records do not age.

Thus, while science endeavors to transform the chaotic variety of natural

phenomena into what may be called a cosmos of nature, the humanities endeavor to
transform the chaotic variety of human records into what may be called a cosmos of
culture. There are, in spite of all the differences in subject and procedure, some very
striking analogies between the methodical problems to be coped with by the
scientist, on the one hand, and by the humanist, on the other.

In both cases the process of investigation seems to begin with observation.

But both the observer of a natural phenomenon and the examiner of a record are not
only confined to the limits of their range of vision and to the available material; in
directing their attention to certain objects they obey, knowingly or not, a principle of
pre-selection dictated by a theory in the case of the scientist and by a general
historical conception in the case of the humanist. It may be true that "nothing is in
the mind except what was in the senses"; but it is at least equally true that much is
in the senses without ever penetrating into the mind. We are chiefly affected by that
which we allow to affect us; and just as natural science involuntarily selects what it
calls the phenomena, the humanities involuntarily select what they call the historical
facts. Thus the humanities have gradually widened their cultural cosmos and in some
measure have shifted the accents of their interests.

Even he who instinctively sympathizes with the simple definition of the

humanities as "Latin and Greek" and considers this definition as essentially valid as
long as we use such ideas and expressions as, for instance, "idea" and "expression"
even he has to admit that it has become a trifle narrow.

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Furthermore, the world of the humanities is determined by a cultural theory

of relativity, comparable to that of the physicists; and since the cosmos of culture is
so much smaller than the cosmos of nature, cultural relativity prevails within
terrestrial dimensions, and was observed at a much earlier date.

Every historical concept is obviously based on the categories of space and

time. The records, and what they imply, have to be dated and located. But it turns
out that these two acts are in reality two aspects of one. If I date a picture about
1400, this statement would be meaningless if I could not indicate where it could
have been produced at that date; conversely, if I ascribe a picture to the Florentine
school, I must be able to tell when it could have been produced in that school. The
cosmos of culture, like the cosmos of nature, is a spatio-temporal structure. The year
1400 means something different in Venice from what it means in Florence, to say
nothing of Augsburg, or Russia, or Constantinople. Two historical phenomena are
simultaneous, or have a determinable temporal relation to each other, only in so far
as they can be related within one "frame of reference," in the absence of which the
very concept of simultaneity would be as meaningless in history as it would in
physics. If we knew by some concatenation of circumstances that a certain Negro
sculpture had been executed in 1510, it would be meaningless to say that it was
"contemporaneous" with Michelangelo's Sistine ceiling.

Finally, the succession of steps by which the material is organized into a

natural or cultural cosmos is analogous, and the same is true of the methodical
problems implied by this process. The first step is, as has already been mentioned,
the observation of natural phenomena and the examination of human records. Then
the records have to be "decoded" and interpreted, as must the "messages from
nature" received by the observer. Finally the results have to be classified and
coordinated into a coherent system that "makes sense."

Now we have seen that even the selection of the material for observation and
examination is predetermined, to some extent, by a theory, or by a general historical
conception. This is even more evident in the procedure itself, as every step made
towards the system that "makes sense*' presupposes not only the preceding but also
the succeeding ones.

When the scientist observes a phenomenon he uses instruments which are

themselves subject to the laws of nature which he wants to explore. When the
humanist examines a record he uses documents which are themselves produced in
the course of the process which he wants to investigate.

Let us suppose that I find in the archives of a small town in the Rhineland a
contract dated 1471, and complemented by records of payments, by which the local
painter "Joannes qui et Frost" was commissioned to execute for the church of St.
James in that town an altarpiece with the Nativity in the center and Saints Peter and
Paul on the wings; and let us further suppose that I find in the Church of St. James
an altarpiece corresponding to this contract. That would be a case of documentation
as good and simple as we could possibly hope to encounter, much better and simpler

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than if we had to deal with an "indirect" source such as a letter, or a description in a

chronicle, biography, diary, or poem. Yet several questions would present
themselves.

The document may be an original, a copy or a forgery. If it is a copy, it may

be a faulty one, and even if it is an original, some of the data may be wrong. The
altarpiece in turn may be the one referred to in the contract; but it is equally possible
that the original monument was destroyed during the iconoclastic riots of 1535 and
was replaced by an altarpiece showing the same subjects, but executed around 1550
by a painter from Antwerp.

To arrive at any degree of certainty we would have to "check” the document

against other documents of similar date and provenance, and the altarpiece against
other paintings executed in the Rhineland around 1470. But here two difficulties
arise. First, "checking" is obviously impossible without our knowing what to "check";
we would have to single out certain features or criteria such as some forms of script,
or some technical terms used in the contract, or some formal or iconographic
peculiarities manifested in the altarpiece. But since we cannot analyze what we do
not understand, our examination turns out to presuppose decoding and
interpretation.

Secondly, the material against which we check our problematic case is in

itself no better authenticated than the problematic case in hand. Taken individually,
any other signed and dated monument is just as doubtful as the altarpiece ordered
from "Johannes qui et Frost" in 1471. (It is self-evident that a signature on a picture
can be, and often is, just as unreliable as a document connected with a picture. ) It
is only on the basis of a whole group or class of data that we can decide whether our
altarpiece was stylistically and ichnographically "possible" in the Rhineland around
1470. But classification obviously presupposes the idea of a whole to which the
classes belong in other words, the general historical conception which we try to build
up from our individual cases.

However, we may look at it, the beginning of our investigation always seems
to presuppose the end, and the documents which should explain the monuments are
just as enigmatical as the monuments themselves. We are apparently faced with a
hopeless vicious circle. Actually it is what the philosophers call an "organic situation."
Two legs without a body cannot walk, and a body without legs cannot walk either,
yet a man can walk. It is true that the individual monuments and documents can
only be examined, interpreted and classified in the light of a general historical
concept, while at the same time this general historical concept can only be built up
on individual monuments and documents; just as the understanding of natural
phenomena and the use of scientific instruments depends on a general physical
theory and vice versa.

Yet this situation is by no means a permanent deadlock. Every discovery of

an unknown historical fact, and every new interpretation of a known one, with either
"fit in" with the prevalent general conception, and thereby corroborate and enrich it,

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or else it will entail a subtle, or even a fundamental change in the prevalent general
conception, and thereby throw new light on all that has been known before. In both
cases the "system that makes sense" operates as a consistent yet elastic organism,
comparable to a living animal as opposed to its single limbs; and what is true of the
relationship between monuments, documents and a general historical concept in the
humanities is evidently equally true of the relationship between phenomena,
instruments and theory in the natural sciences.

III I have referred to the altarpiece of 1471 as a "monument" and to the

contract as a "document"; that is to say, I have considered the altarpiece as the
object of investigation, or "primary material,** and the contract as an instrument of
investigation, or "secondary material." In doing this I have spoken as an art
historian. For a palaeographer or an historian of law, the contract would be the
"monument," or "primary material," and both may use pictures for documentation.
Unless a scholar is exclusively interested in what is called "events" (in which case he
would consider all the available records as "secondary material" by means of which
he might reconstruct the "events") , everyone's "monuments" are everyone else's
"documents," and vice versa. In practical work we are even compelled actually to
annex "monuments" rightfully belonging to our colleagues. Many a work of art has
been interpreted by a philologist or by an historian of medicine; and many a text has
been interpreted, and could only have been interpreted, by an historian of art.

An art historian, then, is a humanist whose "primary material" consists of

those records which have come down to us in the form of works of art. But what is a
work of art? A work of art is not always created exclusively for the purpose of being
enjoyed, or, to use a more scholarly expression, of being experienced aesthetically.
Earlier writers bad always insisted that art, however enjoyable, was also, in some
manner, useful. But a work o art always has aesthetic significance: whether or not it
serves some practical purpose, and whether it is good or bad, it demands to be
experienced aesthetically.

It is possible to experience every object, natural or manmade, aesthetically.

We do this, to express it as simply as possible, when we just loolc at it (or listen to it)
without relating it, intellectually or emotionally, to anything outside of itself. When a
man looks at a tree from the point of view of a carpenter, he will associate it with the
various uses to which he might put the wood; and when he looks at it from the point
of view of an ornithologist he will associate it with the birds that might nest in it.
When a man at a horse race watches the animal on which he has put his money, he
will associate its performance with his desire that it may win. Only he who simply
and wholly abandons himself to the object of his perception will experience it
aesthetically.

Now, when confronted with a natural object, it is an exclusively personal

matter whether or not we choose to experience it aesthetically. A man-made object,
however, either demands or does not demand to be so experienced, for it has what
the scholastics call an "intention." Should I choose, as I might well do, to experience

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the redness of a traffic light aesthetically, instead of associating it with the idea of
stepping on my brakes, I should act against the "intention" of the traffic light.

Those man-made objects which do not demand to be experienced

aesthetically, are commonly called "practical," and may be divided into two classes:
vehicles of communication, and tools or apparatuses. A vehicle of communication is
"intended" to transmit a concept. A tool or apparatus is "intended" to fulfill a
function. Most of the objects which do demand to be experienced aesthetically, that
is to say, works of art, also belong in one of these two classes. A poem or an
historical painting is, in a sense, a vehicle of communication; the Pantheon and the
Milan candlesticks are, in a sense, apparatuses; and Michelangelo's tombs of Lorenzo
and Giuliano de* Medici are, in a sense, both. But I have to say "in a sense," because
there is this difference: in the case of what might be called a "mere vehicle of
communication" and a "mere apparatus," the intention is definitely fixed on the idea
of the work, namely, on the meaning to be transmitted, or on the function to be
fulfilled.

In the case of a work of art, the interest in the idea is balanced, and may
even be eclipsed, by an interest in form. However, the element of "form" is present
in every object without exception, for every object consists of matter and form; and
there is no way of determining with scientific precision to what extent, in a given
case, this element of form bears the emphasis. Therefore one cannot, and should
not, attempt to define the precise moment at which a vehicle of communication or an
apparatus begins to be a work of art. If I write to a friend to ask him to dinner, my
letter is primarily a communication. But the more I shift the emphasis to the form of
my script, the more nearly does it become a work of calligraphy; and the more I
emphasize the form of my language, the more nearly does it become a work of
literature or poetry.

Where the sphere of practical objects ends, and that of "art" begins,
depends, then, on the "intention" of the creators. This "intention" cannot be
absolutely determined. In the first place, "intentions" are, per se, incapable of being
defined with scientific precision. In the second place, the "intentions" of those who
produce objects are conditioned by the standards of their period and environment
Classical taste demanded that private letters, legal speeches and the shields of
heroes should be "artistic”, while modern taste demands that architecture and ash
trays should be "functional”.

Finally, our estimate of those "intentions" is inevitably influenced by our own

attitude, which in turn depends on our individual experiences as well as on our
historical situation. We have all seen with our own eyes the transference of spoons
and fetishes of African tribes from the museums of ethnology into art exhibitions.
One thing, however, is certain: the more the proportion of emphasis on "idea" and
"form" approaches a state of equilibrium, the more eloquently will the work reveal
what is called "content." It is obvious that such an involuntary revelation will be
obscured in proportion as either one of the two elements, idea or form, is voluntarily
emphasized or suppressed. A spinning machine is perhaps the most impressive

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manifestation of functional idea, and an "abstract" painting is perhaps the most

expressive manifestation of pure form, but both have a minimum of content.

IV In defining a work of art as a "man-made object demanding to be

experienced aesthetically" we encounter for the first time a basic difference between
the humanities and natural science. The scientist, dealing as he does with natural
phenomena, can at once proceed to analyze them. The humanist, dealing as he does
with human actions and creations, has to engage in a mental process of a synthetic
and subjective character: he has mentally to re-enact the actions and to re-create
the creations. It is in fact by this process that the real objects of the humanities
come into being. For it is obvious that historians of philosophy or sculpture are
concerned with books and statues not in so far as these books and sculptures exist
materially, but in so far as they have a meaning. And it is equally obvious that this
meaning can only be apprehended by re-producing, and thereby, quite literally,
"realizing," the thoughts that are expressed in the books and the artistic conceptions
that manifest themselves in the statues.

Thus the art historian subjects his "material" to a rational archaeological

analysis at times as meticulously exact, comprehensive and involved as any physical
or astronomical research. But he constitutes his "material" by means of an intuitive
aesthetic re-creation, including the perception and appraisal of "quality," just as any
"ordinary" person does when he or she looks at a picture or listens to a symphony.

How, then, is it possible to build up art history as a respectable scholarly

discipline, if its very objects come into being by an irrational and subjective process?
This question cannot be answered, of course, by referring to the scientific methods
which have been, or may be, introduced into art history. Devices such as chemical
analysis of materials, X rays, ultraviolet rays, infrared rays and macrophotography
are very helpful, but their use has nothing to do with die basic methodical problem. A
statement to the effect that the pigments used in an allegedly mediaeval miniature
were not invented before the nineteenth century may settle an art-historical
question, but it is not an art-historical statement.

Based as it is on chemical analysis plus the history of chemistry, it refers to

the miniature not qua work of art but qua physical object, and may just as well refer
to a forged will. The use of X rays, macrophotographs, etc., on the other hand, is
methodically not different from the use of spectacles or of a magnifying glass. These
devices enable the art historian to see more than he could see without them, but
what he sees has to be interpreted "stylistically” like that which he perceives with the
naked eye.

The real answer lies in the fact that intuitive aesthetic recreation and
archaeological research are interconnected so as to form, again, what we have called
an "organic situation." It is not true that the art historian first constitutes his object
by means of re-creative synthesis and then begins his archaeological investigation as
though first buying a ticket and then boarding a train. In reality the two processes do

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not succeed each other, they interpenetrate; not only does the recreative synthesis
serve as a basis for the archaeological investigation, the archaeological investigation
in turn serves as a basis for the re-creative process; both mutually qualify and rectify
one another.

Anyone confronted with a work of art, whether aesthetically re-creating or

rationally investigating it, is affected by its three constituents: materialized form, idea
(that is, in the plastic arts, subject matter) and content The pseudo-impressionistic
theory according to which "form and color tell us of form and color, that is all," is
simply not true. It is the unity of those three elements which is realized in the
aesthetic experience, and all of them enter into what is called aesthetic enjoyment of
art.

The re-creative experience of a work of art depends, therefore, not only on

the natural sensitivity and the visual training of the spectator, but also on his cultural
equipment. There is no such thing as an entirely "naive" beholder. The "naïve”
beholder of the Middle Ages had a good deal to learn, and something to forget,
before he could appreciate classical statuary and architecture, and the "naive"
beholder of the post-Renaissance period had a good deal to forget, and something to
learn, before he could appreciate medieval, to say nothing of primitive, art. Thus the
"naive" beholder not only enjoys but also, unconsciously, appraises and interprets
the work of art; and no one can blame him if he does this without caring whether his
appraisal and interpretation are right or wrong, and without realizing that his own
cultural equipment, such as it is, actually contributes to the object of his experience.

The "naive" beholder differs from the art historian in that the latter is
conscious of the situation. He knows that his cultural equipment, such as it is, would
not be in harmony with that of people in another land and of a different period. He
tries, therefore, to make adjustments by learning as much as he possibly can of the
circumstances under which the objects of his studies were created. Not only will he
collect and verify all the available factual information as to medium, condition, age,
authorship, destination, etc., but he will also compare the work with others of its
class, and will examine such writings as reflect the aesthetic standards of its country
and age, in order to achieve a more "objective" appraisal of its quality. He will read
old books on theology or mythology in order to identify its subject matter, and he will
further try to determine its historical locus, and to separate the individual
contribution of its maker from that of forerunners and contemporaries. He will study
the formal principles which control the rendering of the visible world, or, in
architecture, the handling of what may be called the structural features, and thus
build up a history of "motifs” He will observe the interplay between the influences of
literary sources and the effect of self-dependent representational traditions, in order
to establish a history of iconographic formulae or "types." And he will do his best to
familiarize himself with the social, religious and philosophical attitudes of other
periods and countries, in order to correct his own subjective feeling for content12 But
when he does all this, his aesthetic perception as such will change accordingly, and
will more and more adapt itself to the original "intention” of the works. Thus what

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the art historian, as opposed to the "naive" art lover, does, is not to erect a rational
superstructure on an irrational foundation, but to develop his re-creative experiences
so as to conform with the results of his archaeological research, while continually
checking the results of his archaeological research against the evidence of his re-
creative experiences.

Leonardo da Vinci has said: Two weaknesses leaning against one another add
up to one strength. The halves of an arch cannot even stand upright; the whole arch
supports a weight. Similarly, archaeological research is blind and empty without
aesthetic re-creation, and aesthetic re-creation is irrational and often misguided
without archaeological research. But, 'leaning against one another," these two can
support the "system that makes sense/' that is, an historical synopsis, As I have said
before, no one can be blamed for enjoying works of art "naively "for appraising and
interpreting them according to his lights and not caring any further. But the humanist
will look with suspicion upon what might be called "appreciationism” He who teaches
innocent people to understand art without bothering about classical languages, bore
some historical methods and dusty old documents, deprives naivete" of its charm
without correcting its errors.

"Appreciationisn” is not to be confused with "connoisseurship" and "art

theory” The connoisseur is the collector, museum curator or expert who deliberately
limits his contribution to scholarship to identifying works of art with respect to date,
provenance and authorship, and to evaluating them with respect to quality and
condition. The difference between him and the art historian is not so much a matter
of principle as a matter of emphasis and explicitness, comparable to the difference
between a diagnostician and a researcher in medicine. The connoisseur tends to
emphasize the re-creative aspect of the complex process which I have tried to
describe, and considers the building up of an historical conception as secondary; the
art historian in the narrower, or academic, sense is inclined to reverse these accents.
But the simple diagnosis "cancer," if correct, implies everything which the researcher
could tell us about cancer, and therefore claims to be verifiable by subsequent
scientific analysis; similarly the simple diagnosis "Rembrandt around 1650," if correct,
implies everything which the historian of art could tell us about the formal values of
the picture.

Art theory, on the other hand, as opposed to the philosophy of art or

aesthetics, is to art history as poetics and rhetoric are to the history of literature.

Because of the fact that the objects of art history come into being by a process of re-
creative aesthetic synthesis, the art historian finds himself in a peculiar difficulty
when trying to characterize what might be called the stylistic structure of the works
with which he is concerned. Since he has to describe these works, not as physical
bodies or as substitutes for physical bodies, but as objects of an inward experience,
it would be useless even if it were possible to express shapes, colors, and features of
construction in terms of geometrical formulae, wave lengths and statistical
equations, or to describe the postures of a human figure by way of anatomical
analysis.

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On the other hand, since the inward experience of the art historian is not a
free and subjective one, but has been outlined for him by the purposeful activities of
an artist, he must not Emit himself to describing his personal impressions of the work
of art as a poet might describe his impressions of a landscape or of the song of a
nightingale.

The objects of art history, then, can only be characterized in a terminology

which is as reconstructive as the experience of the art historian is re-creative. Now
"intentions” can only be formulated in terms of alternatives. Situation has to be
supposed in which the maker of the work had more than one possibility of
procedure, that is to say, in which he found himself confronted with a problem of
choice between various modes of emphasis. Thus it appears that the terms used by
the art historian interpret the stylistic peculiarities of the works as specific solutions
of generic "artistic problems.” This is not only the case with our modern terminology.

When we call a figure in an Italian Renaissance picture "plastic," while

describing a figure in a Chinese painting as "having volume but no mass" (owing to
the absence of "modeling"), we interpret these figures as two different solutions of a
problem which might be formulated as "volumetric units (bodies) vs. illimited
expanse (space)." When we distinguish between a use of line as "contour", we refer
to the same problem, while placing special emphasis upon another one: Tine vs.
areas of color." Upon reflection it will turn out that there is a limited number of such
primary problems, interrelated with each other, which on the one hand beget an
infinity of secondary and tertiary ones, and on the other hand can be ultimately
derived from one basic antithesis: differentiation versus continuity.

To systematize the "artistic problems" which are of course not limited to the
sphere of purely formal values, but include the "stylistic structure" of subject matter
and content as well and thus to build up a system, is the objective of art theory and
not of art history. But here we encounter, for the third time, what we have called an
"organic situation." The art historian, as we have seen, cannot describe the objects
of his re-creative experience without re-constructing artistic intentions in terms which
imply generic theoretical concepts. In doing this, he will, consciously or
unconsciously, contribute to the development of art theory, which, without historical
exemplification, would remain a meager scheme of abstract universals.

When we call the connoisseur a laconic art historian and the art historian a
loquacious connoisseur, the relation between the art historian and the art theorist
may be compared to that between two neighbors who have the right of shooting
over die same district, while one of them owns the gun and the other all the
ammunition. Both parties would be well advised if they realized this condition of their
partnership. It has rightly been said that theory, if not received at the door of an
empirical discipline, comes in through the chimney like a ghost and upsets the
furniture. But it is no less true that history, if not received at the door of a theoretical
discipline dealing with the same set of phenomena, creeps into the cellar like a horde
of mice and undermines the groundwork.

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V It may be taken for granted that art history deserves to be counted among
the humanities. But what is the use of the humanities as such? Admittedly they are
not practical, and admittedly they concern themselves with the past. Why, it may be
asked, should we engage in impractical investigations, and why should we be
interested in the past? The answer to the first question is: because we are interested
in reality. Both the humanities and the natural sciences, as well as mathematics and
philosophy, have the impractical outlook of what the ancients called vita
contemplative as opposed to vita activa. But is the contemplative life less real or, to
be more precise, is its contribution to what we call reality less important, than that of
the active life?

The man who takes a paper dollar in exchange for twenty five apples
commits an act of faith, and subjects himself to a theoretical doctrine, as did the
mediaeval man who paid for indulgence. The man who is run over by an. automobile
is run over by mathematics, physics and chemistry. For he who leads the
contemplative life cannot help influencing the active, just as he cannot prevent the
active life from influencing his thought. Philosophical and psychological theories,
historical doctrines and all sorts of speculations and discoveries, have changed, and
keep changing, the lives of countless millions.

Even he who merely transmits knowledge or learning participates, in his

modest way, in the process of shaping reality of which fact the enemies of humanism
are perhaps more keenly aware than its friends. It is impossible to conceive of our
world in terms of action alone. Only in God is there a "Coincidence of Act and
Thought" as the scholastics put it. Our reality can only be understood as an
interpenetration of these two.

But even so, why should we be interested in the past? The answer is the
same; we are interested in reality. An hour ago, this lecture belonged to the future.
In four minutes, it will belong to the past. When I said that the man who is run over
by an automobile is run over by mathematics, physics and chemistry, I could just as
well have said that he is run over by Euclid, Archimedes and Lavoisier.

To grasp reality we have to detach ourselves from the present. Philosophy

and mathematics do this by building systems in a medium which is by definition not
subject to time. Natural science and the humanities do it by creating those
spatiotemporal structures which I have called the "cosmos of nature" and the
"cosmos of culture." And here we touch upon what is perhaps the most fundamental
difference between the humanities and the natural sciences. Natural science
observes the time-bound processes of nature and tries to apprehend the timeless
laws according to which they unfold. Physical observation is only possible where
something "happens," that is, where a change occurs or is made to occur by way of
experiment. And it is these changes which are finally symbolized by mathematical
formulae.

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Humanities, on the other hand, are not faced by the task of arresting what
otherwise would slip away, but of enlivening what otherwise would remain dead.
Instead of dealing with temporal phenomena, and causing time to stop, they
penetrate into a region where time has stopped of its own accord and try to
reactivate it. Gazing as they do at those frozen, stationary records of which I have
said that they "emerge from the stream of time. The humanities endeavor to capture
the processes in the course of which those records were produced and became what
they are.

In thus endowing static records with dynamic life, instead of reducing

transitory events to static laws, the humanities do not conflict with, but complement,
the natural sciences. In fact these two presuppose and demand each other. Science
here understood in the true sense of the term, namely, as a serene and self-
dependent pursuit of knowledge, not as something subservient to "practical” ends
and the humanities are sisters, brought forth as they are by that movement which
has rightly been called the discovery (or, in a larger historical perspective,
rediscovery) of both the world and man. And as they were born and reborn together,
they will also die and be resurrected together if destiny so wills. If the anthropocratic
civilization of the Renaissance is headed, as it seems to be, for a "Middle Ages in
reverse” a satanocracy, as opposed to the medieval theocracy, not only the
humanities but also the natural sciences, as we know them, will disappear, and
nothing will be left but what serves the dictates of the subhuman. But even this will
not mean the end of humanism. Prometheus could be bound and tortured, but the
fire lit by his torch could not be extinguished

A subtle difference exists in Latin between scientia and eruditio, and in

English between knowledge and learning. Scientia and knowledge, denoting a mental
possession rather than a mental process, can be identified with the natural sciences;
eruditio and learning, denoting a process rather than a possession, with the
humanities. The ideal aim of science would seem to be something like mastery, that
of the humanities something like wisdom.

Marsilio Ficino wrote to the son of Poggio Bracdolini: "History is necessary,

not only to make life agreeable, but also to endow it with a moral significance. What
is mortal in itself, achieves immortality through history; what is absent becomes
present; old things are rejuvenated; and young men soon equal the maturity of old
ones. If a man of seventy is considered wise because of his experience, how much
wiser he whose life fills a span of a thousand or three thousand years! For indeed, a
man may be said to have lived as many millennia as are embraced by the span of his
knowledge of history."

Reference:

Panofsky, Erwin. Meaning in the Visual Arts. Australia: Penguin Books, 1955. pp.
1-2599

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Lesson 1- ANSWER SHEET

NAME:__________________________________ CR., YR & SECT:___________________

LESSON NO. & TITLE: _______________________________________________________
DATE : ___________________________________ SCORE:______________

1) What subjects/human disciplines are being studied in Humanities?

Describe each. (10 points)
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

2) Briefly describe the differences between art creation and art appreciation.
(5 points)
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

3) Give at least four reasons why you need to study Science and Humanities?
(5 points)
a. _____________________________________________________________
b. _____________________________________________________________
c. _____________________________________________________________
d. _____________________________________________________________

4) The word humanitas comes from a Latin word humanus which means human,
cultured and refined. Looking at the illustration above, what distinguishes
humanitas from divinitas and barbaritas? (10 points)
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
5) Write the appropriate description for each photo (refer to Figures A-H, pp. 5-7)
using the guide representation or illustration. (Refer to Figure 6, p. 5) (5 pts. each)

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Figure A -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure B -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure C -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure D -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure E -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure F -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure G -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________
Figure H -
_____________________________________________________________
_____________________________________________________________
_____________________________________________________________

6) What is meant by Humanities and Science? Described these concepts in your

understanding. (5 points)
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

7) How do Humanities and Arts affect or influence events in the world? (5 points)
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

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___________________________________________________________________
___________________________________________________________________

8) How does an artist express his/her art in the following? (3 points each)
a. Visual art (painting, drawing, architecture)
_____________________________________________________________
_____________________________________________________________
b. Performing Arts (music, dance, drama)
_____________________________________________________________
_____________________________________________________________
c. Linguistic (Literary arts)
_____________________________________________________________
_____________________________________________________________

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